How To Work With Your Accompanist...

... in auditions, festivals, recitals, and other performances.

1) Sing with accompaniment. I know some of us think we are such amazing singers that we don't need the piano, but we do. The audition panel wants to hear what you sound like with a pianist, just as you would in the actual show. If you don't have someone to rehearse with you, consider learning to play the piano well enough that you can prep yourself for singing with accompaniment.

2) Don't use recorded accompaniment. No high-quality show would use recorded accompaniment, and no high-quality audition should either. Recorded accompaniment is also far less flexible. Almost all professional and professional-level amateur auditions will not allow you to audition with pre-recorded accompaniment.

3) If an accompanist is provided, don't try to bring your own unless it has been advertised as being acceptable. It's insulting.

4) If an accompanist is not provided but you are expected to bring your own, recognize that more will be expected from you. Practice with your accompanist well in advance of the audition.

5) Bring clean and clearly marked sheet music. Be sure the music you give the piano player is cut down to 16 bars (or however much you are singing) and is free of stray marks and coffee stains. Don't staple the pages together or do anything else that will make it difficult for the accompanist to turn the page. The best way to prepare the pages is to tape them accordian style so that they will fold out and stay flat on the piano stand.

6) Bring sheet music in the correct key. Do not assume that accompanists can transpose on the fly. This is considered rude and a breach of ettiquette in most auditions.

7) Most importantly, be courteous to the accompanist. Give them your music (neatly marked), explain at what tempo you would like it played, and point out any unusual tempo changes. Nod when you would like them to start. After you sing, thank them! Most accompanists are wonderful players, but even if they are lousy, they are doing you a favor by playing for you, and everyone will notice how you treat them. It's an indication of how easy you will be to work with should you get cast.

Links to more Tips for Working With Accompanists

Singer and Accompanist

Working With Your Accompanist

Comments (1) >>

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written by PmW1234, September 12, 2008

From a Pro Audition Accompanist that plays for Broadway auditions all the time. A few comments on the above:

ABOUT #3 and #5 above

At Broadway auditions, It's ALWAYS ok to bring your own accompanist. Often when you want to perform a piece that is too difficult to sight read, has too many changes of tempo, or if you want that extra level of security and control, bringing you own pianist is the way to go. At real auditions, it is always ok and it will never be advertised. It's just the way it is. Experienced audition players will love the break and the fact that they won't be put in a compromising position having to sight read a chart that is not sight readable (for example). It also shows the panel that you care enough about the audition to pay someone to play for you out of your won pocket. If a pianist or panelist vibes you in a negative way for bringing your own person, realize that they are the ones who are unprofessional and inexperienced- NOT YOU!

Sheet music should be in a three ring binder. Most audition studios use Yamaha upright pianos that have a small music stand. They are only wide enough for three pages. I can't tell you how many times I've been playing for people at auditions and their music falls down when I turn the pages of the taped( accordion style ) chart. If I don't know the piece, I have no choice but to stop and pick up the music. PUT IT IN A BOOK! Then you are safe whether it's an upright with the small stand or a 9 ft Grand.

Also, be mindful of page turns. Arrange the pages so there are the least amount of page turns possible. It sounds obvious but most people have their music poorly arranged. Music that looks good with few page turns will get better results in sight reading situations. This is why Broadway copyists get paid a lot of money. Charts that look good save rehearsal time. At an audition you get about 30 seconds of rehearsal > spend time and care with your audition book. You can't control many things in the audition one but this is one of them. Most people screw it up and then get mad at the pianists. Trust me- it's you!!! You are the leader in the situation. LEAD.

Thanks for all of the other comments above. I agree with the others you have left. THANKS

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